□ Stay in 2021

□ E-mail : isaacmoon86@gmail.com

Isaac Moon was born in 1986 and he lives and works in Seoul. He observes the interaction of humans, images, and objects and presents them as the three-dimensional objects in which multiple contemplation is overlapped

His artworks that started from exploring the middle ground between images and objects by referring to the production environments of artifacts in which images are printed as objects has been focusing on revealing the gaps in the experiences or amplifying the experiences which have occurred in the relationship between images, objects, and space. His artworks are to arouse the present by complexly referencing and reconstructing the images and forms of the past and the present, myth and science fiction, daily life and art history.

Recently, to deal with the subject of teleportation, he has experimented with the modeling which is reinvented and crossing images and objects by using synthetic resin. Also, with reference to clone technique, he has asked how the exhibition is being experienced in the world reorganized with various smart devices by replicating images, sculptures, and spaces in multiple layers and by making an audience experience complexly. Also, with reference to clone technique, he has asked how the exhibition is being experienced in the world reorganized with various smart devices by replicating images, sculptures, and spaces in multiple layers and by making an audience experience complexly.

Education

2014 M.F.A in Sculpture, Kookmin University, Seoul, Korea

2011 B.F.A in Sculpture, Kookmin University, Seoul, Korea

Solo Exhibition

2021 Beam Me Up!, Kumho Museum of Art, Seoul

2019 Clone Technique: Seeking Elixir, Gallery Factory2, Seoul

2017 Passion. Connected., Archive Bomm, Seoul

2016 Construct, Space Four One Three, Seoul

Group Exhibition

2019 No Matter, Paste, Art Space Tri-Bowl, Songdo

2019 Matter Data Matter, Space So, Seoul

2019 Take Me Home, Platform-L, Seoul

2018 No Matter, Paste, Space Four One Three, Seoul

2018 Polygon Flash OBT, Insa Art Studio, Seoul

2017 Things: Sculptural Practice, Doosan Art Center, Seoul

2016 ACC Network Platform : Asia Kula Kula-ring, ACC, Gwangju

Projects

2019 The scrap, The scrap, Seoul

2018 TasteView, House Taste, Seoul

2017 Pack 2017, Culture Tank, Seoul

2017 The scrap, The scrap, Seoul

Awards & Grants

2021 ARKO Arts Support Program, Arts Council Korea, Korea

2020 Kumho Young Artist, Kumho Museum of Art, Seoul

2020 Young artist support grant, ARKO, Seoul

2019 Awarding Exhibition Fund, SFAC, Seoul

2017 SeMA Emerging Artists Supporting Program, Seoul Museum of Art, Seoul

Residency

2021 Seoul Art Space Geumcheon 12th, SFAC

《Beam Me Up》

2021, Exhibition view, Gumho Museum of Art

《Clone Technique: Seeking Elixir》

2019.12.24.-2019.12.29., Exibition view, Gallery Factory2

《Clone Technique: Seeking Elixir》

2019.12.31.-2020.1.5., Exibition view, Gallery Factory2

《Clone Technique: Seeking Elixir》

2020.1.7.-2020.1.13., Exibition view, Gallery Factory2

□ Stay in 2021

□ E-mail : impossiblestory@gmail.com

□ URL : impossiblestory.net

□ SNS : @youngle.keem

​

As I have majored both in literature and visual art, my work unfolded on the intersection of a double interest. One is a research on the literary text as a visual subject and the other is about a question on how to read the historical and cultural images as contemporary narratives and how to respond to them. My central concern has always been the “accumulation” rather than a brief moment in time. For example, when I became interested in a ball-point pen, my perspective passed through the material aspect of the pen and went on to permeate into the layers of “chatters” that revolve around the pen. This is an attempt to delve into the objects and phenomena at a slower pace as well as my will to examine, uncover anew, and rigorously restructure the language and images of our time. Thus, it is important for me to draw in language into visual arts in an active manner. The basic methodology consists of bringing together literary imagination from the narratives and a collection of visual images selected among the modern and contemporary history as well as popular culture, and reflectively restructuring the aspects of the world. I believe this means to be a way of “artistic reading” and have continued on my work in various forms of publication, video, photography, and installation with a variety of text.

Education

2017 Korea National University of Arts, Visual Art (MFA)

2010 Korea National University of Arts, Visual Art (BFA)
2005 Yonsei University, French Literature & German Literature (BA)

Solo Exhibition

2019 Captive Stones, SeMA Storage, Seoul

2012 Six Fingers, KT&G Sangsangmadang Gallery, Seoul

Selected Group Exhibition

2019 Spectres in the Library (SeMA Storage, Seoul)

2019 Modern Rose (Nam-Seoul Museum of Art, Seoul)

2019 Slanted Breath (Post Territory Ujeongguk, Seoul)

2019 The Bone of the Wind (Udo Art Center, Jeju)

2018 Flaneur Archive 01 (Gallery18th, Jeju)

2018 Scenes of Fugitivity (Space OOOJH, Seoul)

2018 The Narrative of the Island and Wind | Art space Iaa, Jeju)

2018 Exhibition of Exhibition of Exhibition (Cecil Theater, Seoul)

2017 12th Busan International Video Art Festival: October, The People walking in darkness (Art space Heem, Busan)

2017 8 Works, Collections of the Artists (Audio Visual Pavilion, Seoul)

2017 Family Report (Gyeonggi Museum of Modern Art, Ansan)

2016 Private, but Public Square (Wumin Art Center, Cheongju)

2016 The Art of Not Landing (Cake Gallery, Seoul)

2014 The Young and The Restless (Common Center, Seoul)

2013 Learning-Machine (NJP Art Center, Yongin)

2013 a House yet unknown (Art Space Pool, Seoul)

2013 No Mercy, No Fear (Gallery White Block, Paju)

2012-2013 Translated into Mother Tongue (Doosan Art Space, Seoul & New York)

2011 Uncountable Collection (KT&G Sangsangmadang Gallery, Seoul)

2011 The Eye of a Needle (Space99, Seoul)

2011 EMAP : The Techne-space (Ewha Womens University, Seoul)

2010 Milk& Honey (K-arts Gallery, Seoul)

2010 Linguistic Morphology : Art in Context (Sungkok Art Museum, Seoul)

2010 God Save the the Mona lisa (Plant Gallery, Seoul)

Projects

2018 Flaneur Archive

2017/2019 The Scrap

2013 Mediacity Seoul 2014 Pre-Biennale : Postcard Project
2011 HIT and RUN

2009 Web-zine Camping

Publication

2020 May the Cats be with You

2019 Captive Stones

2014 Meta-Universe

2012 Six Fingers

2012 The Anthology
2011 a Wall
2010 Monami 153 Chronicles

Residencies

2021 Seoul Art Space Geumcheon (Seoul)

2020 SeMA Nanji Residency (Seoul)

2019 Udo Art Center (Jeju)

2018 Art Space Iaa (Jeju)

2017 Proyecto Ace Pirar (Buenos Aires, Argentina)

2010 Studio 683 (Seoul)

Collection

2020 Seoul Museum of Art

2019 Museum of Contemporary Art Pusan

Selection

2020 20th Seoul International ALT Cinema & Media Festival Audience Jury Award (Korea)

2019 SeMA Emerging Artist (Seoul Museum of Art, Korea)

2018 Art-Reach Research Project (Jeju Foundation for Art & Culture)

2013 Creative Talent Selection (Korea Creative Content Agency, Korea)

2012 Art support program (Seoul Foundation of Arts and Culture, Korea)

2012 Art proposal selection (KT&G Sangsangmadang, Korea)

Blue Land

2019, Single channel video, FHD, 17'40"

Captive Stones

2019, book, 136p, 130x190mm

Unposted Letters

2019, collected stamps, pigment print, collage, 245X345mm, 700x345mm

□ Stay in 2021

□ E-mail : shinwookkimstudio@gmail.com

□ URL : www.shinwookkim.com

□ SNS : @shinwookkim_

Shinwook Kim received a master’s degree in Fine Art Photography from Royal College of Art, UK, bachelor’s degree in Fine Art from Goldsmiths, University of London, and a Working on structuring a huge world through close observation and collection of the surroundings and seeking to find the nature of it.

Education

2021 Professional Doctorate in Fine Art, University of East London, UK

2014 MA Photography, Royal College of Art, UK

2012 BA Fine Art, Goldsmiths, University of London, UK

Solo Exhibition

2020 <In Search of Nessie> The 7th Amado Photography Award Exhibition, Amado Art Space/Lab, Seoul, Korea

2020 <The Night Watch> UARTSPACE, Seoul, Korea

2020 <On the Periphery> BMW Photo Space, Busan, Korea

2019 <AIRPORT CITY> KAIST Art & Research Gallery, Seoul, Korea

2018 <Unnamed Land: Air Port City> SPACE 22, Seoul, Korea

2015 <SLEEPWALKER>Korean Cultural Centre UK, London, UK

2012 <Photographic Images of Fish and Shellfish in Korean Classical Painting> MOKSPACE, London, UK

Group Exhibition

2020 Helsinki Photo Festival, The National Museum of Finland, Helsinki, Finland(c)

2020 Riga Photomonth, Riga, Latvia

2019 OPEN YOUR STORAGE: History, Circulation and Discourse, Love Yourself, Buk Seoul Museum of Art, Seoul, Korea

2019 Night Spotting + Goodbye Stranger (Two Person Exhibition), Seoi Gallery, Seoul, Korea

2019 Postmodern: short stories, Palazzo Tagliaferro Museum, Andora, Italy

2019 Postmodern: short stories, The Mall, Milan, Italy

2018 10th SKOPF Photographer of the Year (3 person exhibition), GoEun Museum of Photography, Busan, Korea

2018 ManifestO Rencontres Photographiques de Toulouse, Place Saint Pierre, France

2018 META PICS, UARTSPACE, Seoul, Korea

2018 THE SCRAP, CULTURE STATION SEOUL 284, Seoul, Korea

2018 Young Portfolio Acquisitions 2017, Kiyosato Museum of Photographic Art, Kiyosato, Japan

2017 Family Reunion, Pi Gallery, London, UK

2015 Fluorescent, Soho Open House Arts, London, UK

2015 The Open West, The Wilson Gallery and Museum, Chaltenham, UK

2014 UNSEEN, Amsterdam, The Netherland

2014 SHOW RCA 2014, Royal College of Art, London, UK

2014 2014 New Hero, ‘Public Art’ Selected Artist Exhibition, NEMO, Seoul, Korea

2014 Young Art Taipei 2014, Taiwan

2014 UMIT PRESENTS 16MM FILM, BL-NK, London, UK

2014 RCA SECRET 2014, Royal College of Art, London, UK

2014 WEA, World Emerging Artist Exhibition (3 person exhibition), Selected by AAF Milan, Superstudio Piu, Milan, Italy

2013 Import/Export, Tornio/Harparanda, Northern Media Culture Association Magneetti, Finland/Sweden

2013 Splinter, Michael Hoppen Gallery, London, UK

2013 The Others, Hanmi Gallery, London, UK

2013 Night Break, (Two Person Exhibition), MOKSPACE, London, UK

2013 Contemporary Korea Photo Exhibition of Four Young Photographers, Guardian Garden, Tokyo, Japan

2013 RA Summer Exhibition 2013, Royal Academy of Arts, London, UK

2013 NordArt 2013, Büdelsdorf, Germany

2013 7th International Arte Laguna Prize Finalists exhibition, Venice Arsenale , Venice, Italia

2013 OPEN PLAN: Nomadologies, 55 Gracechurch Street, London, UK

2013 WIP Show, Royal College of Art, London, UK

2013 14th Photography Criticism Awards winning Exhibition, Iyang Gallery, Seoul, Korea

2012 Take a view, National Theater, London, UK

2012 The Recent Graduates Exhibition, Battersea Evolution, London, UK

2012 クラウト [cloud/crowd] LE DECO gallery, Tokyo, Japan

2012 EWAAC Art Award exhibition, La Galleria Pall Mall, London, UK

2012 70 ARTISTS 7 DAYS, Regent Canal Mile End, London, UK

2012 NOW IS WHEN, Come To Revolution New Cross, London, UK

2012 4482, [Map the Korea] Barge house, London, UK

2006 ACROSS THE BORDER, Gallery 27, Kyunggi‐do, Korea

2005 Group exhibition, Dongduk Gallery, Seoul, Korea

Awards

2020 Helsinki Photo Festival open call winner, Finland

2020 Selected Artist for Riga Photomonth, Latvia

2020 Project Grant, Seoul Foundation for Arts and Culture, Korea

2020 The 7th Amado Photography Award, Amado Art Space/Lab, Korea

2018 Laureates 2018 ManifestO Rencontres Photographiques de Toulouse, France

2017 ‘Photographer of the Year’, KT&G Sangsang madang, Korea

2015 Winner of KCCUK Open Call, Korean Cultural Centre UK, UK

2015 Finalist, The Open West, The Wilson Gallery and Museum, UK

2014 Royal College of Art ‘Overseas Student Bursary Award’, UK

2013 Finalist, “Import/Export”, Northern Media Culture Association Magneetti, Finland/Sweden

2013 Royal College of Art ‘Fine Art Award’, UK

2013 Winner of “British Institution Awards”, RA Summer Exhibition Prize, Royal Academy of Art, UK

2013 Finalist, NordArt 2013, Germany

2013 Finalist, 7th International Arte Laguna Prize, Venice, Italia

2013 Finalist, Portfolio Review Duesseldorf, Germany

2013 Monthly Art Magazine ‘Public Art’ Selected Artist, Korea

2012 14th Photography Criticism Awards, Photo space, Korea

2012 EWAAC Art Award, UK

2012 Warden’s award, Goldsmiths college, UK

Residency

2021 Seoul Art Space Geumcheon, Seoul Foundation for Arts and Culture, Korea

Publication, Article and interview

2021 In Search of Nessie, ARP, Korea

2020 THE NIGHT WATCH, ARP, Korea

2015 SLEEPWALKER, KCCUK, UK

2014 SCIENCE & FICTION, black dog publishing, UK

2012 Landscape Photography of the Year: Collection 6,UK

Collection

Kiyosato Museum of Photographic Arts, Kiyosato, Japan

GoEun Museum of Photography, S Korea

Oriel College, University of Oxford, UK

KT&G Sangsang madang, S Korea

Seoul City Hall, S Korea

MOKSPACE, UK

UARTSPACE, S Korea

SPACE 22, S Korea

In Search of Nessie

2020, exhibition view, Amado Art Space

She is very fragile

2020, Archival Pigment Print, 50x66cm

exhibition view_2019 Buk-Seoul Museum of Art

Terminal 5

2015, Archival Pigment Print

New Forest

2012, Archival Pigment Print, 100x155cm

□ Stay in 2021

□ E-mail : gimmebomb@gmail.com

□ URL : kimheecheon.com

Education

2015 Korea National University of Art, B. Ar.

Solo Exhibition

2019 Deep in the Forking Tanks, Art Sonje Center, Seoul

2018 Lifting Barbells, Asian Art Museum, San Francisco

2018 Kim Heecheon, Doosan Gallery, New York

2017 HOME, Doosan Gallery, Seoul

2015 Wall Rally Drill, Common Center, Seoul

Selected Group Exhibition

2020 The Man Who Saw the Fourth Dimension, web

2020 Hare Way Object, Deoksugung Palace, Seoul

2020 Video Acts, Total Museum, Seoul

2020 Busan Biennale 2020: Words at an Exhibition - an exhibition in ten chapters and five poems, Busan

2020 Elsewhere, Atelier Hermès, Seoul

2020 Solidarity Spores, ACC, Gwangju

2019 The Best World Possible, Platform-L, Seoul

2019 The 50th anniversary Exhibition of MMCA Korea 《The square: Art and Society 1900-2019 Part 3.》,MMCA, Seoul

2019 Three Rooms: Edge of Now, ZKM, Karlsruhe, Germany

2019 13th Cairo Biennale, Aisha Fahmy Palace, Cairo, Egypt

2019 Longan, House of Egorn, Berlin, Germany

2019 The Center Will Not Hold, Museum of Contemporary Art and Design, Manila, Philippines

2018 Three Rooms: Edge of Now, CAC, Shanghai, China

2018 CRACKS in the Concrete II: A Glimpse into the World, MMCA, Gwacheon

2018 12th Gwangju Biennale: Imagined Borders, Gwangju Biennale Hall, Gwang-ju

2018 Edge of Now, Nam June Paik art center, Yong-in

2018 Exihibtion Of Exhibition Of Exhibition, Cecil theater, Seoul

2018 Collection Highlights: Synchronic Moments, MMCA, Gwacheon

2017 Seoul focus: 25.7, The Buk Seoul Museum of Art, Seoul

2017 15th Istanbul Biennial: a good neighbour, Istanbul Modern, Istanbul, Turkey

2017 O philoi, oudeis philos, Atelier Hermès, Seoul

2016 New Acquisitions 2013~16: Samramansang, MMCA, Seoul

2016 iwillmedievalfutureyou5, Kunsthal Aarhus, Aarhus, Denmark

2016 Void, MMCA, Seoul

2016 SeMA Biennale Media City Seoul 2016, Seoul Museum of Art, Seoul

2016 Wellknown Unknown, Kukje Gallery, Seoul

2015 New Skin : Modeling and Attaching, Ilmin Museum of Art, Seoul

Screenings

2021 MoMA: Modern Mondays, MoMA, Online Screening

2020 C-lab 4.0, Coreana Museum of Art, Seoul

2020 Out of Blueprints, Serpentine Galleries & NOWNESS, Online screening

2019 Every Smooth Thing through Mesher, Centre d'Art Contemporain Genève, Geneva, Switzerland

2019 ‘I AM THE DANGER!’* The Art of TV Series, Temporary Gallery, Koln, Germany

2018 V-Chanel No.2, Very, Berlin, Germany

2017 Being Infrastructural, Mother’s Tankstation Limited, Dublin, Ireland

2017 Roskilde Festival, Roskilde, Denmark

2016 Ex-is(International Experimental Film & Video Festival in Seoul), Seoul

2015 Asian Film and Video art Forum, MMCA-Film and Video, Seoul

Projects

2020 do it (home), ICI web (as a participant)

2019 hOle, TCAC, Taipei (as a participant)

2017 10.Mar.2017, #instatata_kunsthalaarhus, Aarhus (as a participant)

2015 The Scrap, Seoul (as a participant)

2015 Prophecy from Povstradaums ヽ(`Д´)ﾉ, Vanziha B½F , Seoul

2015 Goods 2015, Sejong Center , Seoul (as a participant)

2015 Tumble Tumble T’Escape ᕕ( ᐛ )ᕗ, Vanziha B½F , Seoul

Awards & Residencies

2021 Seoul Art Space Geumcheon (Seoul Foundation for Arts and Culture)

2019 The Biennale Prize at 13th Cairo Biennale

2018 Selected as Korean representative for “Three Room project (NJP art center, ZKM, CAC)

2018 Doosan Residency New York (Doosan Yonkang Foundation)

2016 Doosan Yonkang Art Awards (Doosan Yonkang Foundation)

2013 Mirae Awards (Canon Korea, Park Geonhi Foundation)

Collection

National Museum of Modern and Contemporary Art, Korea (MMCA)

Seoul Museum of Art, Korea (SeMA)

Gyeonggi Museum of Modern Art, Korea

Nam June Paik Art Center, Korea

Ulsan museum of Art, Korea (scheduled to open in 2021)

Han Nefkens Foundation, Spain

frac île-de-france, France

Deep in the Forking Tanks

2019, single channel video, HD(16:9), stereo, 43mins

Every Smooth Thing through Mesher

2018, single channel video, HD(16:9), stereo, 30mins, 

commissioned by Gwangju Biennale, produced by Han Nefkens Foundation

Wall Rally Drill

2015, single channel video, HD(16:9), B/W, stereo, 32 mins

Lifting Barbells

2015, single channel video, HD(16:9), B/W, stereo, 21 mins

□ Stay in 2021

□ E-mail : fatshinmin@gmail.com

□ URL : cargocollective.com/daughternose

□ SNS : @fatshinmin

​

The main interest of my work is based on a long history of human violence against the weak, especially women, and the study of its root. The works are related to the situations that drive the weak to a dead-end and its complete destruction in which the strong has a dominant control over the weak. The initial interest came from my personal experiences such as how the corporate hires workers under low-income and high-efficiency to boost their profits, and how men use their physical and social strength, restraining and using violence against women.

At 'Daughters' (Solo exhibition, 2011), I’ve created a crowd of girl figure statues with holes in their eyes in which incense is burning, in remembrance of the sexually abused children victims. From mid-2013 to late 2015, I’ve created a series of McJob sculptures which mentions disposable labor, all made by sacks of McDonald’s french fries, secretly collected by myself while working there. A performance ' A girl programmed to self-destruct, at the end ' (Performance, May, 2015) shows misogynism that is prevalent in Korean society, and 'bee-shil-kee-shil-kee-shil'(Installation, December, 2015) is a site-specific work that deals with the ridiculousness of the institutional Korean art education entrance examination system in which my drawings blot all plaster casts out that I found in an abandoned art academy.

The most recent and representative work is McJob sculptures, made by sacks of McDonald’s french fries. At first, McDonald’s was simply my income source to survive, but as I’ve been swept away in the corporate’s inhuman system, I started to secretly collected french fries sacks. And they’ve become the materials of my work to show the hyper-reasonable-price of products, cheap labors, and the gap between the rich and poor. The reason why I’ve used the sacks of french fries is because the addictiveness and unescapableness of fries’ taste is a perfect metaphor for my generation who can’t escape from poverty although they are working for the world’s biggest corporations. This series has gained a lot of social, political, and media attention in Korea.

Currently, I am working on studying a biological root of war and sex, and as a part of it, I am researching Korean sex slaves under Japanese colonization during WW2. 'Sex and War' (Malcolm Potts and Thomas Haden, 2010) takes an evolutionary approach that deals with the men’s sexual jealousness, a common reason of human violence. The authors says that the men and women’s specific behaviors related to sex and violence are varied depending on the situations, but also insist that they are on genes. Far from dichotomously saying that men are meant to be aggressive and women are not, I’m rather more interested in the root of war and violence, and the biological approach to it that how living things are programmed, female’s role in the system, how repetitive the human history is, and what we can do to change it, from a broader aspect.

Education

2013 Hong-ik University, Mechanical System Design, Bachelor’s degree, Seoul, KOREA

Solo Exhibition

2017 No! Space Dimension variable, Seoul, SOUTH KOREA

2017 demo Space 413, Seoul, SOUTH KOREA

2017 IAP PLATFORM ARTIST PRIZE-The People Of Paper, IAP, SOUTH KOREA

2015 Inhale, Exhale, And STAY. ,Toy republic, Seoul, SOUTH KOREA

2015 a girl programmed to self-destruct, at the end, Barim, Kwangju, SOUTH KOREA

2015 The Gigantic Golden Arch, Seogyo art center, Seoul, SOUTH KOREA

2014 We’re all made of_______, Ium Art Space, Ulsan, SOUTH KOREA

2014 We’re all made of_______, place MAK, Seoul, SOUTH KOREA

2011 Daughters, place MAK, Seoul, SOUTH KOREA

2010 panic toy kids, place MAK, Seoul, SOUTH KOREA

Group Exhibition

2017 IAP platform artist, Incheon, SOUTH KOREA

2016 [A.N.D Thearter X SHIN MIn]c​ollaboration project, Incheon art platform, Incheon, SOUTH KOREA

2016 wet paint, Incheon art platform, Incheon, SOUTH KOREA

2015 play back residency, Barim, Kwangju, SOUTH KOREA

2015 SDU competiton, SDU, Seoul, SOUTH KOREA

2015 Crazy jeon, Alternative Space Loop, Seoul, SOUTH KOREA

2015 open to you, openspce bae, Busan, SOUTH KOREA

2014 BUSAN ART SHOW artowns, BEXCO, Busan, SOUTH KOREA

2012 NEW YORK ART SHOW 2012 for young artist, gallery Shinhan, New York, USA

2010 horror picture show, gallery door, Seoul, SOUTH KOREA

Lectures

2016 paper sculpture calss, Namincheon girls' middle school, Incheon, SOUTH KOREA

2015 paper sculpture class, Barim, Kwangju, SOUTH KOREA

2015 origami sculpture class, Toy republic, Seoul, SOUTH KOREA

Publications

2016 Inhale, Exhale, and STAY, exhibition catalogue, daughter nose, SOUTH KOREA

2012-2015 origami camera, monthly zine , daughter nose, SOUTH KOREA

2013 Puppet home, artist book, daughter nose, SOUTH KOREA

2012 Nuns, artist book, daughter nose, SOUTH KOREA

2012 Daughters, artist book, daughter nose, SOUTH KOREA

Articles

2018 Kim Yura, No review, Feb, Monthly Art Magazine

2015 Hangook newspaper, May 21, p 24

2015 Koreaherald newspaper, Jan 26, p 17

2014 Hangyorae newsmagazine, no.1025, Aug, p 88-89

2014 Laborplus, monthly magazine, Oct, p 36-39

2014 Monthly art, magazine, Sep, p 72

Broadcasts

2015 MBC News desk, Jun 2, SOUTH KOREA

2014 Money today news interview, Aug 17, SOUTH KOREA

Reviews

2018 Kim Yura, No review, Feb, Monthly Art Magazine

2015 Lee moon-sok, Inhale, Exhale, and STAY review, Aug, Indien-bob

2014 Juen kang-hul, We’re all made of review, Sep, Indien-bob

​

Awards

2017 PLATFORM ARTIST PRIZE, IAP, SOUTH KOREA

2016 The 4th Red awards, labor party, SOUTH KOREA

Grants

2016 support fund for the project, IFAC, SOUTH KOREA

2015 support fund for the project, KAMS, SOUTH KOREA

2015 support fund for the project, SFAC, SOUTH KOREA

2014 support fund for the project, SFAC, SOUTH KOREA

2014 support fund for the project, SFAC, SOUTH KOREA

2011 support fund for the project, ARKO, SOUTH KOREA

Residencies

2021 Seoul Art Space Guemcheon, Seoul, SOUTH KOREA

2017 K'ARTS studio, Seoul, SOUTH KOREA

2016 Incheon art platform, Incheon, SOUTH KOREA

2015 Barim, Kwangju, SOUTH KOREA

2013-2015 Seoul art space in Sindang, Seoul, SOUTH KOREA

contact

www.cargocollective.com/daughternose

about my artwork text link

http://cargocollective.com/daughternose/About-my-Artwork

biography text link

http://cargocollective.com/daughternose/BIOGRAPHY

Part-Timers Doing Downward-Facing Dog Pose

2014, Sacks of McDonald's french fries, colored pencil, boxes, polystyrene, 308x200x153cm

The Gigantic Golden Arch

2015, trash from McDonalds,140X70X253cm

2020, pencil on woodblock, 20x16cm

□ Stay in 2021

□ E-mail : kitsutaiten@gmail.com

□ URL : www.donsunpil.com

□ SNS : @kitsutaiten

DON Sunpil (b.1984) is an artist who dismantles the affection towards the object and background which are frequently appeared in the subculture. To the artist, represented by the figure, a so-called OTAKU culture is not simply for leisure or light amuse, but a fascinating social phenomenon and a clue to a shared aesthetic sense. DON brings out the subject like animation, which is asserted to be existing on the outside of Fine Art boundary, into a discourse within the art world then intersect each other. The artist not only maintains affection in one hand and strict aesthetic appreciation in the other for the cultural context, narrative, and the adoration towards the figures but also persistently explored the perfection and logical completeness of the figure, then unfolded them to the audience.

DON sees the figure as a mass-produced product created by individuals who share the same aesthetic orientation and looks into the aspects of society and culture, the basis of which these specific individuals and communities were created. Furthermore, it is assumed that the interface between figures and fine art is ‘useless except for the appreciation’, and appreciation of artworks is compared to ‘Deokjil’. Under such a dry gaze, figures are reproduced with the limitation of the original color of the feeling of a unique scale. Figures that are monochromatic, or resizing the original scale became an object only for the appreciation, but it becomes satisfactory objects just in themselves.

DON Sunpil held solo exhibitions at Art Sonje Center (Seoul, Korea) in 2020, ARARIO Museum in Space (Seoul, Korea) in 2019, TasteHouse (Seoul, Korea) in 2018, AVP (Seoul, Korea) in 2016. Participating in the group exhibitions were held at Daerim Museum (Seoul, Korea) in 2020, Danwon Art Museum (Ansan, Korea) in 2019, ARARIO Gallery Seoul I RYSE Hotel (Seoul, Korea), Grassi Museum (Leipzig, Germany) in 2018, The Print Room (London, UK) in 2017, Trading Post (Seoul, Korea) in 2016, SangSangMadang (Seoul, Korea) in 2015. DON participated in the Residency program at 14th SeMA Nanji Residency (Seoul, Korea) in 2020, and published “Figure TEXT: Wonder Festival Report, Kitsutaiten” (2019), “Minmay Attack: Re-Re-Cast, AVP” (2016), and “Figure TEXT, Yourmind” (2016).

Education

2016 Seoul National University of Science & Technology. Dept. of Fine Arts, MFA, Fine Arts

2011 Hongik University, College of Fine Arts, BFA, Printmaking

Solo Exhibition

2020 Portrait Fist, Art Sonje Center, Seoul

2019 Kitsutaiten 喫態店, ARARIO MUSEUM in SPACE, Seoul

2018 METAL EXP: Loner’s Moving Time, TasteHouse, Seoul

2016 Minmay Attack: Re-Re-Cast, AVP, Seoul

Group Exhibition

2021 Short Circuit, TasteHouse, Seoul

2020 Namhaegak, Daily history, Namhaegak, Namhae-gun

2020 YES/NO/ LIKE/DISLIKE/ LOVE/HATE/ REPLY/SHARE: 2000-2020 THE PORTRAIT OF KOREAN POP CULTURE, Art Delight, Seoul

2020 No Space, Just a Place. Eterotopia, DAELIM MUSEUM, Seoul

2019 2019 PACK : Adventure! Double Cross, Post Territory Ujeongguk, Seoul

2019 Image: Fascinating Alchemy, Danwon Art Museum, Ansan

2019 新生空間展: 2010年以降の新しい韓国美術, Chaos Lounge, Tokyo

2018 Please Note: The Design is Subject to Change, Grassi Museum, Leipzig

2018 Exhibition of Exhibition of Exhibition, Cecil theater, Seoul

2018 Remembering, or Forgetting, Arario gallery, Seoul

2017 Image-Manipulate-Play, The Print Room (the Coronet), London

2017 TasteView 취미관 趣味官, TasteHouse, Seoul

2016 MAS(Media Arcade Service), Donggwang Theater, Gyeonggi-do

2016 Get Fat Project, space291, Seoul

2016 Hedron Archive, Trading Post, Seoul

2015 Goods, Sejong Center for the Performing Arts, Seoul

2015 Patch Notes, Trading Post, Seoul

2015 comme la vie est lente et comme l’esperance est violente, SangsangMadang, Seoul

2015 Public Library, Independent Publishing, Reading Room, The National Library of Korea, Seoul

2014 DV-VA, Archive Bomm, Seoul

2014 If You Do Not Know, Use Complementary Colors, SeoulTECH Gallery, Seoul

2013 Course A, Hoyeon Gallery, Suwon, Korea

2010 Parallax, Hongik Museum of Art, Seoul, Korea

2009 The 15th Space International Print Biennial, Seoul Museum of Art, Seoul, Korea

Projects

2020 Open Source Studio, SeMA NANJI RESIDENCY, opensourcestudio.net

2020 Sujanggo, sujanggo.com

2020 Art Street, Storage by Hyundai Card, Seoul

2018 Phantom Service, Seoul Art Space Mullae, TasteHouse, Seoul

2016 Confession of ZEEWOOMAN, Post Territory Ujeongguk, Seoul

2015 Goods, Sejong Center, Seoul

2012 Opening, B½F Vanziha, Seoul, Korea

Publishing

2019 Figure TEXT: Wonder Festival Report, Kitsutaiten

2016 Minmay Attack: Re-Re-Cast, AVP

2016 Figure TEXT, Yourmind

Awards | Residencies

2021 SFAC Seoul Art Space Geumcheon 12th, SFAC

2020 SeMA Nanji Residency 14th, SeMA

2018 Art Research Book Publishing Support Project, SFAC

2018 Promising Artists Support Project MAP (Mullae Arts Plus), SFAC

2017 ARKO Creative Academy, ARKO

2017 Promising Artists Support Project MAP (Mullae Arts Plus), SFAC

2016 Artwork support project: Interdisciplinary Arts, SFAC

Portrait Fist

2020, mixed material

FFWP series

2020, mixed material

Adventure(5)Time

2020, 4K video, 14' 06"

Debugging Station

2019, mixed materials

□ Stay in 2021

□ E-mail : hohwoojung@gmail.com

□ URL : www.hohwoojung.com

□ SNS : @hohwoojung

​

Hoh Woo Jung emphasizes invisible substantiality into condensed and simplified lines or shapes and presents the fundamental uncertainty of an existence. Without erasing the thin pencil lines drawn on the canvas, the artist visualizes new figurative spaces by using oil paints as his main medium towards his own unique methodology. He has presented solo exhibitions Shade Left Behind(SongEun ArtCube, 2020), Line, Curve, A Colorful Gesture(Gallery Baton, 2019), From Saturday to Friday(Cheongju Art Studio, 2018), Spiritual Attitude(Gallery Chosun, 2018), and has participated in group exhibitions Sharpness_Temperature of Art(Ilwoo Space, 2020), Edge(Space So, 2020), The Unstable Objects(Nam-Seoul Museum of Art, 2019).

Education

2013-2014 Post-diplôme, École nationale supérieure des beaux-arts de Paris (FR)

2008-2013 Diplôme national supérieur d’arts plastiques (with honors)

École nationale supérieure des beaux-arts de Paris (atelier de Djamel Tatah) (FR)

Solo Exhibition

2020 Shade Left Behind, SongEun ArtCube, Seoul (KR)

2019 Line, Curve, A Colorful Gesture, Gallery Baton, Seoul (KR)

2018 From Saturday to Friday, Cheongju Art Studio, Cheongju (KR)

2018 Spiritual attitude, Gallery Chosun, Seoul (KR)

2017 Social Fiction, Gyeonggi Museum of Modern Art/Project Gallery, Ansan (KR)

2016 Night's Monologue, Galerie Paris Horizon, Paris (FR)

2015 Monopoly, Centre Culturel Coréen, Paris (FR)

2014 Mise en scène, Galerie de l’Europe, Paris (FR)

Group Exhibition

2020 Not Open Exhibition, SeMA Nanji Residency, Seoul (KR)

2020 Sharpness_Temperature of Art, ilwoo space, Seoul (KR)

2020 Edge, Space So, Seoul (KR)

2019 The Unstable Objects, Nam-Seoul Museum of Art, Seoul (KR)

2019 Phantom Mode, Chapter II, Seoul (KR)

2019 Sender Inquiry, Cheongju Art Studio, Cheongju (KR)

2018 Stars beyond the night, Cheongju Art Studio, Cheongju (KR)

2018 Time in black and white, Soda Museum, Hwaseong (KR)

2018 Beautiful Bridge 3, Cité internationale des arts, Paris (FR)

2017 Bracketing, Gyeonggi Creation Center, Ansan (KR)

2017 Rêvez! #2, Collection Lambert, Avignon (FR)

2017 Gyeonggi Art Prism 2017, Gyeonggi Museum of Modern Art, Ansan (KR)

​2017 Drifting Unconsciousness, Gyeonggi Creation Center, Ansan (KR)

2017 Travaux publics, Galerie du Crous de Paris, Paris (FR)

2016 Asianow, LEAP Pavilion, 9 avenue Hoche, Paris (FR)

2016 Micro/Salon, Le 22, Nice (FR)

2016 Drawing room 016, La Panacée/Centre de Culture Contemporaine, Montpellier (FR)

2016 L'art contemporain selon Charles Perrault, Dodo Gallery/Pinocchio Museum, Paju (KR)

2016 CRAC 15ème Biennale d'Arts Actuels de Champigny Sur Marne, Salle Jean-Morlet, Champigny Sur Marne (FR)

2016 100 Dessins, Espace des arts sans frontières, Paris (FR)

2016 La nouvelle chose, Espace des arts sans frontières, Paris (FR)

2015 ça ira mieux demain, Galerie ALB Anouk le bourdiec, Paris (FR)

2015 Beautiful Bridge 2, Hangaram Art museum, Seoul (KR)

2014 40 x 30, Galerie ALB Anouk le bourdiec, Paris (FR)

2014 Possibles d'un monde fragmenté, Palais des Beaux-Arts, Paris (FR)

2014 Butterfly from the kaleidoscope, Fellini gallery, Berlin (GE)

2013 Prix Art School, 59Rivoli, Paris (FR)

2013 Hasard d'ensemble, Groupe d'Art Contemporain d'Annonay, Annonay (FR)

2012 Poissy Talents, Centre de diffusion artistique de Poissy, Poissy (FR)

2012 Prix de Dessin Pierre David-Weill, Palais de l’Institut de France/Académie des Beaux-Arts, Paris (FR)

2012 Chic Dessin, Atelier Richelieu, Paris (FR)

2011 Parcours d’artistes, Aux passerelles, Pontault-Combault (FR)

2011 Safety glasses required in this area, Espace des arts sans frontières, Paris (FR)

2010 Interstices, Le Fil Rouge/La Q.S.P., Roubaix (FR)

Projects

2017 Defrag, Gyeonggi Creation Center Art project, Ansan (KR)

Awards

2020 SongEun ArtCube's 2020-2021 Program, SongEun Art and Cultural Foundation (KR)

2018 SeMA Emerging Artists & Curators Supporting Program, Seoul Museum of Art (KR)

2017 SOMA Drawing Center archive, Seoul Olympic Museum of Art (KR)

2017 Sélection des artistes pour l'exposition hors murs, Centre Culturel Coréen (FR)

2015 Sélection des artistes pour l'exposition, Centre Culturel Coréen (FR)

2014 Lauréat du prix 2014 du jeune artiste, Jung-Hun Mécénat (FR)

2013 Lauréat du 3ème prix de la catégorie Dessin, Prix Art School (FR)

Residencies

2021 Seoul Art Space Geumcheon (KR)

2020 SeMA Nanji Residency (KR)

2019 Chapter II (KR)

2018 Cheongju Art Studio (KR)

2017 Gyeonggi Creation Center Residency (KR)

Collection

Seoul Museum of Art

Seoul Metropolitan Government

Daejeon Museum of Art

Gyeonggi Museum of Modern Art

Jung-Hun Mécénat

Color of Void (1)

2020, oil on canvas, 91x91cm

Flow (5)

2020, oil and pencil on canvas, 91x117cm

Under Nose

2019, paper, styrofoam board, wall putty, paint, dimension variable

Here and There

2018, oil and pencil on canvas, 194x259cm

□ Stay in 2021

□ E-mail : yasziro@gmail.com

□ URL : www.dogwon.com

Doyeon Gwon studied literature in college and then majored in photography in graduate school. His photography is concerned with exploring the relationship between knowledge and memory, the visual image, and language. His solo exhibitions include Bukhansan (Gallery Nook, Seoul, 2019), Flashbulb Memories (Gallery Lux, Seoul, 2018), The Art of Shovel (KT&G Sangsangmadang, Seoul, 2015), and Traveller Novice (Gallery Ryugaheon, Seoul, 2011). He has also participated in many group exhibitions, including FotoFest Biennial (US), PHoto ESPAÑA Biennial (Spain), Daegu Photo Biennale (South Korea), and shows at the GoEun Museum of Photography, Busan, and Seoul Museum of Art. He received the Sajin Bipyong (Photography Criticism) Award (2011), has been selected as a finalist for the 7th KT&G Sangsangmadang SKOPF (2015), was included in the British Journal of Photography’s “Ones to Watch” (2016), and received the 10th Ilwoo Photography Award.

Education

2016 MFA, Photography, Graduate School of Sangmyung Univ. Seoul, Korea

2007 BFA, Literature, Hanyang Univ. Seoul, Korea

Solo Exhibition

2020 <SF>, Gallery SOSO, Paju, Korea

2020 <Flashbulb Memory 2>, Gallery 021, Daegu, Korea

2020 <Siot>, Ilwoo Space, Seoul, Korea

2019 <Bukhansan>, Gallery Nook, Seoul, Korea

2018 <Flashbulb Memory>, Gallery LUX, Seoul, Korea

2015 <The Art of the Shovel>, KT&G Sangsangmadang, Seoul, Korea

Selected Group Exhibition

2020 <Open the Memory>, Gallery 021, Daegu, Korea

2020 <The Museum for all, The Museum for Dogs>, National Museum of Modern and Contemporary Art, Korea

2020 <Madeleine>, Galerie DohyangLee, Paris, France

2019 <Platform Artist>, Incheon Art Platform, Incheon, Korea

2019 <Still Lives: Photo Brussels Festival>, Korean Cultural Center, Brussels, Belgium

2019 <The Art of Possible>, Goyang Aram Mesuem, Goyang, Korea

2019 <Plastic Love>, KT&G Sangsangmadang, Seoul, Korea

2019 <Traveling to the End>, National Museum of Modern and Contemporary Art residency, ChangDong, Korea

2019 <Underground Observatory: Here’s the Aleph>, Space22 Ikson, Seoul, Korea

2019 <Unfamiliar Scene>, Gallery Seoi, Seoul, Korea

2019 <291Report>, 291 photographs, Seoul, Korea

2019 <Static Sense>, Sikmulgwan PH, Korea

2019 <representing>, Art space J, Sungnam, Korea.

2018 <Write an Art, Draw a Book>, Kyungpook National University Art Museum, Daegu, Korea

2018 <DAL&1>, DAL, Seoul, Korea

2018 <Salon de Nook>, Gallery Nook, Seoul, Korea 2017

2017 <291 Report>, Space 291, Seoul, Korea

2017 <Studio 13>, National Museum of Modern and Contemporary Art residency, Goyang, Korea

2017 <From Flatness>, 021 Gallery, Daegu, Korea

2017 <Intro>, National Museum of Modern and Contemporary Art residency, Goyang, Korea

2016 <Melancholy of Books>, Kyobo Art Space, Seoul, Korea 2016

2016 <The emancipated memories>, Good Morning House, Suwon, Korea

2016 <Encounter IV : Daegu Photo Biennale>, Daegu, Korea

2016 <Twofold Dialogue>, Nook Gallery, Seoul, Korea

2016 <Ones To Watch: Photo Espana>, Madrid, Spain

2016 <Kairos Photography>, KT&G Sangsangmadang, ChunCheon, Korea

2016 <Dimension>, Gallery Shinsegea, Seoul, Korea 2015

2015 <New Force of Photography>, GoEun Museum of Photography, Busan, Korea

2016 <Mapping Territories: FotoFest in 2015>, NRG Center ,Houston, USA

2016 <Outside Timeline>, Nowhere, Seoul, Korea

2016 <International Discoveries V : Fotofest Biennale>, Houston, USA 2014

2014 <Seoul Luna PhotoFest>, Boan1942, Seoul, Korea

2014 <Sajin Bipyong>, Space 22, Seoul, Korea 2013

2014 <Succeeding>, Gallery Ilum, Seoul, Korea 2012

2012 <Here and Now>, Gallery Grimson, Seoul, Korea 2011

2011 <Seoul Photo Festival 2011>, Seoul Museum of Art, Seoul, Korea

2011 <Dongbangyogoi>, MBC Gallery M, Daegu, Korea

2011 <13nd Sajin Bipyong Awards>, Gallery ilum, Seoul, Korea 2010

2010 <Morden art draws attention from major mediaforms>, Seoul Art Space Festival, Seoul, Korea

2009 <A soft gap of time>, Gallery LUX, Seoul, Korea

Awards

2019 10th ILWOO Photography Award, HanJin Group, Seoul, Korea

2014 7th Korean Photographer's Fellowship- Final Artist of the year, KT&G Sangsangmadang, Korea

2011 12nd Sajin Bipyong Awards, Photospace, Seoul, Korea

Selection | Grant

2020 Selected as a Artist for funds to Support the Solo Exhibition, Gyeonggi Cultural Foundation, Korea

2019 Selected as a Artist for funds to Support the Solo Exhibition, The Seoul Foundation for Arts and Culture, Korea

2019 Selected as a Artist for funds to Support the Project, Gyeonggi Cultural Foundation, Korea

2018 Scholarship Program for Meeting Place, Fotofest Biennale, USA

2016 Ones To Watch, British Journal of Photography, UK

2015 “Encounter”, Winner of portfolio review, Daegu Photo Biennale, Korea

Residencies

2021 Seoul Art Space Geumcheon

2019 Incheon Art Platform, Incheon, Korea

2018 DAL, Seoul, Korea

2017 National Museum of Modern and Contemporary Art residency, Goyang, Korea

Collection

Seoul Museum of Art

Art Bank, National Museum of Modern and Contemporary Art, Korea

GoEun Museum of Photography, Korea

Shinsegea, Korea

KT&G, Korea

Bukhansan_Black Mouth

2019, Pigment print

Bukhansan

2019, Pigment print

SF_George Cayley

2020, Pigment print, 150x150cm

SF_ Percy Sinclair Pilcher

2020, Pigment print, 105x135cm

□ Stay in 2021

□ E-mail : moon4019@naver.com

□ URL : www.moonsujin.com

I received BFA and MFA in sculpture department of Seoul National University in South Korea and studied in the fiber department of the School of Art Institute of Chicago in USA. I have had solo show twice including “Living Island” in CICA Museum in Kimpo, Korea in 2020, and I have been participated in several group shows including “Contemporary Landscape in Flux” in The Research House for Asian Art in Chicago in 2021. I have been in one-month program residencies in Monson Arts, Vermont Studio Center, and MASS MOCA in US, and currently working in one-year residency program in Seoul Art Space Geumcheon run by Seoul Foundation for Arts and Culture.

□ Note for practice_Sujin Moon

A sense of touch is the basis for all the other sensations. Sight is reconstructed image in the brain from sensing the light when it touches the retina, hearing is to sense the sound wave when it touches the eardrum, taste is a chemical reaction to the foods particles touching the taste buds on tongue, and smell is to sense the odor molecules touching the olfactory cells in the nose. All senses involve a tactile process of ‘touching’ with something.

I define myself as a sculptor. Making sculpture is touching something: touching something’s surface, feeling the texture and resistance of it, and carrying the weight of the thing and wrestling and struggling with it with my whole body.

My practice involves performance carrying my own weight or some other things’ one. My sculptures and installations are often created in a way of pressing and mark-making. Mark-making is occurred when two different bodies attach to each other firmly enough to remain their skins on each other’s bodies. I accepted the process of it as physical and metaphorical.

I tend to regard something invisible and intangible as the things have physical presence. I believe that something without physical body such as thoughts or emotions also has physical power to make something or someone moves. As a sculptor, my goal is making some intangible things into touchable, and remaining marks of something without body.

□ Living Island, 2020

The exhibition consists of documenting materials of the performance work, ‘Living Island’, which occurred from the beginning of February to mid-March 2020 at Lake Hebron in Monson, Maine. ‘Living Island’, a month-long performance project, creates a snow island on the frozen lake with the simple act of shoveling snow until the spring starts the island melt. The work is intertwined with the ideas of the fear from the situation of standing and working on the unstable earth, on the ice, the alertness of latent death, the vulnerability of being, and the consolation from the connection and solidarity with people.

Considering the nature of performance work, which is always moment-specific, the question of how to present the performance afterwards in the gallery space always matter. In this sense, the documenting materials are created as interpretations of the memories of the performance, rather than a representation of it. I attempted to find the appropriate forms for the textures and shapes of fragments of the memories. Some moments become a bundle of papers which is bounded to physical weight and thickness. Some other moments become a video, or in other words, light. The other becomes a movement, which is waiting to be activated by someone flipping their fingers.

We have passed through a long year. This year was colder and harsher than any other winters due to the spread of the novel virus so that we had to stay inside longer than ever. In this difficult moment, we cannot let the anxiety out of our mind completely. I look back again at the memories of being on the lake and I rethink how weak and small we are, and how much we can be consoled by someone’s support, as I could be by the people in Monson. I hope this work will be a metaphor for lives and a humble gesture of support and solidarity to someone who visits the show.

Education

2019 The School of Art Institute of Chicago, MFA

2017 Seoul National University, MFA

2012 Seoul National University, BFA

Solo Exhibition

2020 Living Island, CICA Museum, Gimpo

2014 Moon, Sujin solo exhibition, Woo-suk-hall, Seoul, Korea

Group Exhibition

2021 "Contemporary Landscape in Flux", The Research House for Asian Art, Chicago, IL

2019 ‘A Perfect Measurement’, Site gallery, Chicago, IL

2019 MFA thesis show, School of Art institute of Chicago, Chicago, IL

2018 New Blood XII Festival, Links Hall, Chicago, IL

2018 Object Lesson: Book Explorations, 062 Gallery, Chicago, IL

2015 ‘Serial exhibition: Project Space ‘Big Frame’, Seoul National University, Seoul

2015 ‘Non-finito’, Woo-suk Gallery, Seoul

2014 ‘Another Meeting’, Yang-gu Porcelain Museum, Yang-gu-gun

2014 Young Artist Invitation Exhibit 6th, KOSA Art Space, Seoul

2013 ’51-202’, Woo-suk-hall, Seoul

2011 Seoul National University graduate exhibition, Seoul National University, Seoul

Awards

2018 Steketee Scholarship, The School of Art Institute of Chicago

2018 J.Field/R.Field Family Travel Scholarship, School of Art Institute of Chicago

2011 Ha Dong-cheol Creative Award, Seoul National University

Residencies

2021 Seoul Art Space GeumCheon

2020 Monson Arts, Monson, ME

2019 Studios at MASS MoCA, North Adams, MA

2019 Vermont Studio Center, Johnson, VT

Living Island

2020, Single Channel video, 12 min. 50 sec, 12'50"

Living Island

2020, Inkjet prints on papers, artist book, variable installation

Mothers' Mother's

2019, paper made out of cloths, interactive installation with artist's book

□ Stay in 2021

□ E-mail : deemd@naver.com

□ URL : seriouswarmingup.tumblr.com

She is a studying for a master’s degree in the Department of Sculpture at Seoul National University college of Art.

Her first individual exhibition was Serious Warming-upat the KIGOJA in 2015 and as part of the group exhibition Seoul Babelat the Seoul Museum of Art in 2015.

I have been curious about the movement of people in the digital media environment to express their opinions. Humans who dream of a new world as subjects who changed history have created movements from the past to the present with their thoughts and will in their bodies. Individuals showed all the movements aimed at a developmental direction to resolve when society lost its developmentality.

The daily and continuous movements that people make are made into short videos. This is an anticipation for a future that is not yet visible. I’m interested in where the direction of the force toward the future is headed by collecting many shorts videos like trailer. Create a situation to assess the identity and capture the moments that will be created in the future.

Education

2020 Completed MFA courses(Sculpture), Seoul National University, KR

2015 BFA Painting, Seoul Women’s University, KRs

Solo Exhibition

2015 《Serious Warming-up 2013; 2015》, Kigoja: Independent Arts Space, Seoul

Group Exhibition

2018 《A Rowing Stone》, Woosuk Gallery, Seoul

2016 《Seoul Babel》, Seoul Museum of Art, Seoul

2014 《Non Class》, Digital Media City Gallery, Seoul

2014 《Art Factory Project》, Culture Station Seoul 284, Seoul

Awards & Grants

2020 Artwork Support Program, SFAC

2018 First Arts Support, SFAC

​

Residencies

2021 Seoul Art Space Guemcheon, Seoul, Korea

2016 Hangar, Barcelona, Spain

War against monsters under the fifth high wave

2019, Single channel video, 14' 31“

Pose Searching

2019, plywood, acrylic, LED, 193.6 x 79cm

Serious Warming-up

2017, Single channel video, 07' 21"

Serious Warming-up

2015, 3 channel video, 08' 30"

□ Stay in 2021

□ E-mail : yjyyjs@gmail.com

□ URL : jiyoungyoo.com

□ SNS : @jiyoungyooo

​

Artist Statement

Working primarily with painting and often combining it with digital printing, installation, and objects, Jiyoung Yoo examines the way a format of medium transforms its content. Her practice is primarily focussed on the conversion of indefinite ideas in flux into disconnected fragments arranged within a certain frame and on the consequent substitution of their nature with the medium’s formal qualities. Yoo employs painting as a means of visualising the process by questioning the underlying principle of painting where it has its external relation to the wall and internal relation to content. Overlapping the conditions of painting with daily elements within the system of arrangement, her works unfold an unusual painting situation where the viewers are invited to perceive the structure within and outside the medium.

Biography

Jiyoung Yoo is a South Korean-born artist who is based in London and Seoul. Questioning the conventional conditions of painting, Yoo explores relationships between objects within the system of arrangement developed based on their uses. She graduated with an MA degree in Painting from the Slade School of Fine Art, London (2017) and received a BFA in Painting from Hongik University, Seoul (2014). She recently had two solo exhibitions in Seoul including One After Another, Alltimespace (2019); and Spilled Water, RainbowCube (2018). She has been awarded grants and residencies, among which are: the Seoul Foundation for Arts and Culture’s solo show grant (2021) and research grant (2019); and the position of artist-in-residence at Seoul Art Space Geumcheon, Seoul (2021) and Katitak Centre, HKBU, Hong Kong (2018). She was the finalist of Korean Eye 2020 organised by Parallel Contemporary Art (2020) and Contemporary Visions 8 run by Beers London (2017).

Education

2015-2017 MA Painting, Slade School of Fine Art, UCL, UK

2009-2014 BFA Painting, Hongik University, KR

Solo Exhibition

2019 One after Another, Alltimespace, Seoul, KR

2018 Spilled Water, Rainbow Cube Gallery, Seoul, KR

Selected Group Exhibition&Projects

2021 Todays, Keep in Touch, Seoul, KR

2020 cut! cut! cut! - index, Alltimespace, Seoul, KR

2020 Axis 2020, 021 Gallery, Daegu, KR

2020 Anti-Sea, The London Arts Board, London, UK

2020 To All Our Absent Dialogues (organised by Warbling Collective), 155a, London, UK

2020 cut! cut! cut!, Seetangraum, Jeju, KR

2019 Study of Basic Forms 1, Ilwoo Space, Seoul, KR

2018 TasteView, Tastehouse, Seoul, KR

2018 Painters by Painters, 2/W, Seoul, KR

2018 Mei Yahn Yu, Kaitak Centre, Hong Kong (two-person show with Jocelyn McGregor)

2018 Contemporary Visions 8, Beers London, London, UK

2017 The Choice of a New Generation (organised by isthisit?), Muse at 269, London, UK

2017 Is this it?, Serf, Leeds, UK

2017 Faith, Austin Forum, London, UK

2017 MeMeMeMe, The Crypt Gallery, London, UK

2016 pillow, swallow, hollow, yellow, The Artwall, Athens, GR

2016 Techno and the City, Fiumano Projects, London, UK

2015 The Windshow, Camden People's Theatre, London, UK

​

Awards&Grants

2021 Exhibition Grant, Seoul Foundation for Arts and Culture, KR

2020 Korean Eye 2020, PCA(Parallel Contemporary Art), London, UK

2019 Research Grant, Seoul Foundation for Arts and Culture, KR

2017 Finalist, Contemporary Visions VIII, Beers London, UK

2017 Scholarship, ART-UNI-ON (founded by Hyundai Motor and Seoul National University), KR

Residencies

2021 Seoul Art Space Geumcheon, Seoul Foundatioin for Arts and Culture, KR

2018 Academy of Visual Arts, HKBU, Hong Kong

*How to break water into pieces;

2020, oil paint on canvas mounted on fiberboard, jesmonite, copper tube, lacquered balsa, clock mechanism, 29 x 29 x 4.2 cm

Anti-Sea

2019, UV print and coloured pencil on linen, plaster, acrylic paint, gel wax, glass, 200 x 140 x 5 cm

September

2019, oil and acrylic paint on wood, plaster, 53 x 55 x 4.5 cm

Template of Hope

Installation view: Spilled Water (2018, Rainbow Cube)

1-13 from Plate XIXX.

2018, oil and acrylic on canvas, dimensions variable

Seoul Art Space Geumcheon(SASG) will be joining the 2021 Res Artis Conference <DEFINING THE NEXT DECADE> to discuss the impact of the COVID-19 pandemic on the sector.

About the SASG Participation Panel

Friday 10 September 16:30-18:00 BKK (18:30-20:00 KST)

[Adapting practice & program to the digital environment] 

The pandemic has forced artists to develop an online presence, adapt their practice to a digital medium and conduct online residency, showcasing and professional development opportunities. 

How and can all artists ‘pivot’ their practice? Can artists retain copy-right in the digital realm? What programming and legal considerations should artists and arts residencies contemplate in order to cater for increased virtual activity in the field?

More information about the conference can be found at the link below.

*Informaion_2021 Res Artis Conferences Bangkok

  #Program_2021 Res Artis Conference Bangkok

  #Speakers_2021 Res Artis Conference Bangkok

Res Artis Conference 2021 Bangkok

Defining the Next Decade
8 – 17 September 2021

Res Artis is excited to announce our first ever fully digital Res Artis conference hosted by SAC Gallery, Bangkok and supported by ASEF culture360; KONNECT ASEAN, ASEAN Foundation; Goethe-Institut Thailand and Japan Foundation, Bangkok. Titled Defining the Next Decade, the conference will examine the tremendous impact of COVID-19 and the future of the international arts residencies field. We will present the results of Res Artis survey data and examine new models of arts residencies that have evolved in response to the pandemic. This includes the rise in local exchange, virtual residencies, and digital residency activity that has occurred while physical exchange is paused.

Taking place during diverse time zones spread over two weeks in September, the virtual nature of this conference will reflect new digital residency activity emerging in the field and will offer greater accessibility for attendees and contributors alike. We will offer workshops and presentations from members of the art residency field throughout the world with a particular focus on those based in South East Asia and Thailand. The conference will include opportunities for facilitated small group interactions, artistic offerings as well as Bangkok gallery and residency tours. This promises to be a digital event unlike any other that through its programming and format will address the importance of meaningful “hosting” in the virtual realm.

  Expansive stories built through de-construction

   Anna Harsanyi

In Youngle Keem’s film, Searching for Seahorse (2016), images of ocean fauna and flowing waters are interspersed with a gentle narration: “One day, seahorse disappeared. When it happened, some of human capability was also lost. No one felt sorry about that. Everybody forgot about it soon.” The story is of a missing, suddenly disappeared seahorse, and of an anonymous protagonist’s search for it within an ever-changing world. At first, the viewer might think this is a true story, blending scientific fact and the tale of one individual’s search for a specific seahorse. But through a subtle unraveling across image and narration, Searching for Seahorse can be understood as a parable about reckoning with history while simultaneously navigating a rapidly changing contemporary society. When looking for seahorse, the anonymous searcher must turn to the world around them. We see images of crowds, of newly built housing blocks, of city dwellers crowded in commuter clusters. We see closeups of diplomatic hands shaking in ceremonial commemoration, world leaders passively gazing into the glare of atomic weapon detonations, and violent scenes of civil war. In the viewer’s process of connecting such disparate imagery, the seahorse emerges as an anonymous, potentially universal symbol for the individual who contends with memories of the past within shifting worlds of economic, technological, and political tumult. Where the video began with the ebb and flow of an ocean tide, its images swell from natural sceneries to those of man-made physical and social scenarios. Even when seahorse reappears in memories, she is unrecognizable and unable to swim against the tides she has been missing from. Seahorse drifts away in the naturally occurring rhythms of her own environment. This story, it turns out, is not a story at all – it is a structure for breaking down and then re-constructing visual language.
 
 
 
Keem’s practice encompasses both publication and video formats, treating the book as an art object and its text as a framework for visual contemplation. A book shifts in form and function over time and can develop a relationship with its reader. In terms of what is presented on the page, there is no “right” or “wrong” interpretation, no singular culminating message to be gleaned at the end. For Keem, the book and its contents have a fluid and expansive life, a place of conceptual reflection and personal meaning-making.
 
 
 
In the same way that books serve as a tool for critical imagination, in Keem’s work the act of interpretation is often situated in the in-between, in the invisible spaces which tie together image, text, and sound. Pictures and words are presented outside of their usual contexts, stories are shaped by their proximity to images, and an image’s meaning shifts in relationship to other ones. This relational structure forms a network of symbolism and metaphor in Keem’s work, a language which holds at its core the familiar and ubiquitous aspects of our visual culture.
 
 

 
The publication Captive Stones (2019) gathers visual representations of stones in art history, daily life, and the environment. Here again the reader is presented with juxtapositions of stones in their naturally occurring states, or as materials for sculpture, or in historical paintings. Stones, it seems, are manipulated in many ways – they are props in image construction. What happens, then, when we pay attention to the stones themselves, as opposed to the context in which they are viewed? This type of removal through close-up focus in Keem’s practice does not tell, it shows. Employing a process of examination of the familiar, the artist allows the reader to think about their own subjective systems of observation, understanding, and application.
 
 

Sujin Moon Critical Essay

Garth Grimball

 

What part of a sculpture elicits marvel? The most common experience of sculpture, in a gallery or museum, is to walk around a pedestal as if testing the object’s three dimensionality. If the sculpture is large enough to be protected by a line on the floor, viewers are told, “please do not touch.” From an acceptable distance sculpture is considered not sensed. Only considering the finished form limits the scope of the medium. We become detached from the action of sculpting. Marvel emerges in the sculpting.

Sujin Moon sculpts. Her work concerns the body and performance as much as any molded object. Time, natural elements, the interplay of weight and effort alchemize in her sculpting. The immaterial is equal to the material. For Moon sculpture is an inclusive art. To experience her work is to ask, what isn’t sculpture? Which is not to say her work is vague or undefined. Her specificity lies in the ability to make room for the unknown, to allow the process to surprise her.

The biggest circle I can draw (2016) intimates the story of Giotto and Pope Benedict XI. When the Pope requested an example of Giotto’s work to be considered for a commission, Giotto sent a hand-painted perfect circle. He got the job. Moon uses her whole body to achieve the same mastery. Like a human compass she fixes her right big toe to an imagined center and stretches her body to its limit with a piece of chalk in her right hand. Slowly she builds the curving line. Inch by inch her left foot and arm muscle the line of her body, the line of the compass. She has the taut concentration of a rock climber. Moon stops at points to slough off pieces of the chalk’s paper wrapping. The focus shifts from her body and the line to the material. The transfer of matter, like ice to water, appears as the solid chalk decomposes in the composition of a circle.

The title, The biggest circle I can draw, encompasses the tenets of Moon’s work. She tests her endurance and focus as if responding to a dare. You want to see the biggest circle I can draw? Well, here it is. Lying stretched on the ground she can’t see her progress or accuracy. Invisibility as another limitation. The circle forms not from hand-eye coordination but trusting sensations. Watching her muscles strain and relax elicits a kinesthetic response. Are my muscles cramping or am I slowly contorting myself into her shape during the 17 minutes it takes for the ends to meet? The body, the chalk, and the surface merge into an experience: circle making.

For Living Island (2020) Moon combines found object and land art with an infusion of dreaminess. During a residency in rural Maine she walked onto a frozen lake and shoveled snow into a huge mass. The simplicity in action belies the wonder in reaction. Moon filmed the process. The opening shot is like an Impressionist painting. Heavy snowfall covers the landscape. On this blank canvas a single figure trudges away from the camera into obscurity. Cut to a mound of white presiding over the naturally occurring contours of a wind-sliced snowpack. Original music by Jeon Yeongjun duets with the sound of wind. The soundscape mirrors the sculpture—natural elements remixed by human craft. The film presents the sculpture like a found object by editing out its creation. As if it just landed on its spot like a sci-fi monolith.

 

A collage of shots over several months transform the mound into an island. As it melts a pool collects around the perimeter. The weight of a metaphor can collapse the physical form. Does the melting represent climate change? Is the isolation of the sculpted mass akin to social isolation? Seeing the island melt down to a remnant of its former self, are we meant to think about how time weathers us all? Living Island encourages interpretation and remains intact against the limits of interpretation. The film ends with the same figure walking towards the camera. The landscape is serene and sun-filled with green trees. Moon brought the island to life and witnessed it dissolve into its original form.

Distinctions between artwork and artist blur for Sujin Moon. There is no separation between the weight of her body and the weight of her material. Weight renders time into a physical feeling. Time continues. Weight changes. Feel the weight of time. The feeling syncs with the time of the material and its environment. Sometimes the body itself is the material; its weight is known but the environment is a mystery to be located.

While attending the MFA program at The School of Art Institute of Chicago, Moon’s sculpting became acts of locating. Into the Grid: hiding in public (2019) and From the Grid (2018) are a mixed-media diptych of dislocation and location. Into the Grid sees Moon carrying a mirror around downtown Chicago. In photographs and video she hides herself behind a reflection. In many of the photographs it takes a moment to locate her mirage, like an invisible Where’s Waldo? This visible invisibility actualizes the experience of being in a place but not of a place. Anonymity feeds freedom and loneliness. Moon is free to play in the unfamiliarity of foreign space, uninhibited by collective routines. But the photographs suggest a loneliness of being without the compass of memory. Where are you when no one knows you and you know no one?

 

The video captures the awkwardness of hauling a human-sized reflector through intersections, negotiating distance, bulk, and passersby. Seeing Moon struggle with the weight and dimensions of the mirror only to peek from behind with a look of giddy transgression feels like the work of translation. After hours of memorizing and conjugating, meaning suddenly clicks. Moon locates the complexity of being new to a place in her body and the reflection of others.

From the Grid renders the cityscape soft through textiles. When Moon arrived in Chicago she was struck by the grids within grids. She describes walking around the downtown Loop as disorienting; the intersecting streets and the rows upon rows of skyscraper windows blended into an uber-grid. Using a natural-synthetic fiber blend Moon sewed city planning into tapestries. Buildings and thoroughfares are reduced to squares and lines. The fabric bunches or folds in places like the histories built into the city’s structure. Streets thick with protests, policy, and populations. Moon presented these soft sculptures from the view within a highrise apartment. Hung on the windows like drapes, the city bleeds through the transparent parts. Hard and soft materials, the real and the imaginary meet.

Implicit in an analysis of Sujin Moon’s work is the digital. She is a sculptor. Much of her work is site-specific and widely shared via filming and digital presentation. How many people experienced Living Island in real life? Does it matter? To borrow another Renaissance tale: the feud between Leonardo and Michelangelo. Michelangelo claimed sculpture was the “real” art because it is three dimensional. Leonardo countered that painting was the truer art because sculpting was labor that caused one to sweat, therefore not fine art. Within this apocryphal exchange is the tension present in much of Moon’s art. Her work hurdles over distinctions and dimensions. The digital divide invites a closer viewing rather than extending the distance between art and viewer. Editing, like sculpting, shapes transitions. Whether experienced as an image, an object, or a performance, she is sculpting. What emerges is marvelous.

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□ URL : keemjiyoung.com

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Biography

김지영(b. 1987)은 뜻밖의 사고처럼 벌어지는 사회적 사건의 배면에 위치한 구조적 문제와 그 사건이 돌출된 양상을 통해 개인과 사회적 사건이 맺는 관계에 주목한다. 세월호 사건 이후에는 동시대 재난이 드러내는 세계의 균열을 탐구하고 있다. 개인전으로 《빛과 숨의 온도》(WESS, 서울, 2020), 《닫힌 창 너머의 바람》(산수문화, 서울, 2018), 《기울어진 땅 평평한 바람》(오뉴월 이주헌, 서울, 2015)을 개최했다.

Educations

2016 M.F.A. Korea National University of Arts, Seoul, Korea

2011 B.F.A. Kookmin University, Seoul, Korea

Solo Exhibitions

2020 Glow Breath Warmth, WESS, Seoul

2018 Wind Beyond the Closed Windows, Sansumunhwa, Seoul

2015 Tilted Land Even Wind, O’newWall E’Juheon, Seoul

Selected Group Exhibitions

2021 The 21st Songeun Art Award Exhibition, Songeun, Seoul

2021 How The Sea Thinks, Space Imsi, Incheon

2021 The Pearl Diver, Gyeonggi Museum of Modern Art, Ansan

2020 Ring: a Circle and a Square, Korean Cultural Center in Hong Kong, Hong Kong

2019 Ring: a Circle and a Square, Insa Art Space, Seoul

2019 Young Korean Artists 2019: Liquid Glass Sea, National Museum of Modern and Contemporary Art, Gwacheon

2019 The Sea Will Not Sink, artspace Boan 1942, Seoul; Ansan Arts Center, Ansan

2018 Scenes of Fugitivity, Gallery OOOJH, Seoul

2017 The Melting Sea, Art Space Pool, Seoul

Projects

2021 Glowing Hour, Incheon Art Platform, Incheon

2015 From April to March, Gallery Hyundai Window Gallery, Seoul

2015 Song Unable to be Good, Samuso CHAGO, Seoul

2014 Intoning, Vanziha B½F, Seoul

Publications

2021 Time of Witnessing, YESUNG ENG

2018 Wind Beyond the Closed Windows, indie–publishing

Residencies

Feb, 2022–Jan, 2023 Seoul Art Space Geumcheon, Seoul, Korea

Mar, 2021–Jan, 2022 Incheon Art Platform, Incheon, Korea

Feb, 2020–Jan, 2021 MMCA Residency Goyang, Goyang, Korea

Jan, 2019–Dec, 2019 SeMA NANJI RESIDENCY 13th Residency Program, Seoul, Korea

Grants

2020 SFAC Art Support Program, SFAC, Seoul, Korea

2018 SeMA Emerging Artists & Curators Supporting Program, Seoul, Korea

2015 Promising Artists Support Program 99℃, SFAC, Seoul, Korea

Collection

National Museum of Modern and Contemporary Art, Korea

Gyeonggi Museum of Modern Art, Korea

The 21st Songeun Art Award Exhibition, 2021, exhibition view, Songeun

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The 21st Songeun Art Award Exhibition, 2021, exhibition view, Songeun

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Glowing Hour

oil on canvas, 233x205cm, 2021

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Glow Breath Warmth, 2020, exhibition view, WESS

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Glow Breath Warmth, 2020, exhibition view, WESS

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□ E-mail : ryusungsil@gmail.com

□ URL : sungsilryu.com

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Biography

류성실은 동시대 한국의 소비주의적 풍속에서 발견한 블랙코미디 서사를 설치, 퍼포먼스, 비디오 등의 매체로 구현한다. 

<체리장 시리즈>는 오늘날 한국 마케팅 산업의 페르소나를 자처하는 가상의 인물 ‘체리장’이 걸어온 화려한 삶의 궤적과 그 끝에 돌연 찾아온 죽음, 그리고 죽음 이후 다시 ‘하늘나라 천사’로 부활해 인생 2막을 누리게 되는 개인의 일대기적 서사를 담고 있다. 일련의 서사는 일견 민주적으로 보이는 오늘날의 시스템에 수시로 침투하는 거짓 약속, 그리고 그에 현혹되는 소시민성을 쉼 없이 조명한다. 

<대왕트래블 시리즈>는 가족주의/구복신앙으로 대표되는 한국의 토착성이 오늘날의 신자유주의와 뒤엉켜 나뒹구는 시대상을 블랙코미디적으로 드러낸다. 한국인의 뿌리 깊은 ‘효’ 문화를 겨냥한 노인 전문 여행사인 '대왕트래블', 근본 없는 이국성을 과시하는 자칭 외국인 직원 '나타샤', 그리고 이들의 비즈니스 타겟인 '노인 집단’이 서로 엉기며 만드는 서사는 소비주의적 한국성을 환기시킨다. 

6min, single channel video, 2018

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11min, single channel video, 2018

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<대왕트래블-직진(feat.Omega Sapien, Mudd the student, Lil Cherry, GOLDBUUDA)>

4min, Single Channel Video, 2021

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<나 안 죽었다! I’m Not Dead!>

150X200X280cm, motor, mixed media, 2019

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<대왕 트래블 2020 Bigking Travel 2020>

15min, single channel video with mobile user interaction, 2020

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<죽지 않는 가문 Never Ending Family>

2min, single channel video with mobile user interaction, 2020

□ Stay in 2022

□ E-mail : au9036@gmail.com

□ URL : www.sinaeyoo.com

□ SNS : @mentears

2016년에 작가는 스위스 베른에서 가장 큰 미술상으로 알려진 Aeschliman Corti Award를 수상했다. 2017년에는 베른시로부터 조각 작품 커미션을 의뢰 받았으며 같은 해 작가의 비디오 작품은 서울시립미술관 소장되었다. 2018년 작가의 작품은 스위스 바젤에서 열린 스위스 미술상(Swiss Art Award)에 전시되었고2019년에는 작가는 프라하 현대미술센터에서 개인전을 열었다. 2020년 및 현재 판데믹 상황에서는 서펜타인 갤러리와 다른 해외갤러리들과 함께 다양한 온라인 프로젝트에 참여하였다. 

<페트리코어 Petrichor, 2021(OLED ART WAVE edition)> Installation view

single channel video, 4K, stereo, approx. 11’30’’, 274.6 x 578.6 x 78.2 cm, 2021

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<무제 #3 (페트리코어) Untitled #3 (Petrichor)>

Acrylic and watercolor on paper, 27.5 x 42 cm (excluding frame), 2020

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<무제 #5 (페트리코어) Untitled #5 (Petrichor)>

Acrylic and watercolor on paper, 73.7 × 49 cm (excluding frame), 2020

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<Triumph of Intelligent Sadcore #1 (페트리코어) Triumph of Intelligent Sadcore #1 (Petrichor)>

Ceramic and mixed media, 28.5 x 18.3x 27.5 cm, 2020

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<Triumph of Intelligent Sadcore #2 (페트리코어) Triumph of Intelligent Sadcore #2 (Petrichor)>

Ceramic and mixed media, 27 x 21 x 11 cm, 2021

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<무제 #1, #2 (페트리코어) Untitled #1, #2 (Petrichor)>

Acrylic and watercolor on paper, 24 x 39 cm (excluding frame), 2019